Saving the Earth is a filthy business.
Welcome to the Kyoto Conference Centre, December 11, 1997. The nations of the world are in deadlock. Time is running out and a climate change agreement feels a world away. The greatest obstacle: American oil lobbyist and master strategist, Don Pearlman…
Fresh off critically acclaimed, sold-out productions in Stratford-upon-Avon and London’s West End, the Royal Shakespeare Company and Good Chance production of KYOTO makes its U.S. debut with an eerily prescient message.
KYOTO asks who gets to decide what’s worth saving when the entire planet is at risk—and what we’re willing to give up so we can move forward, together.
It all plays like a darkly comedic thriller, showing us how the diplomatic sausage is made that ultimately affects our very existence on the planet. Although there are occasional longueurs and scenes that feel more convoluted than necessary, the production proves so energetic and fast-paced that they don’t matter. This is the sort of evening in which one of the most exciting scenes features nothing more than two characters shouting adjectives at each other in a sort of linguistic duel to the death.
Kyoto is a unique theatrical experience, a hybrid of docudrama, political theatre, immersive theatre, and more. I learned more about the world climate change movement in that two-and-a-half hours in the Newhouse than I had from years of viewing media coverage. And what entertainment and insight it provided into the dynamic of international political negotiation!
| 2025 | West End |
West End |
| 2025 | Off-Broadway |
Off-Broadway |
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